[NSP] Re: Radio Mics and channel 69
To complain go to: https://www.ofcom.org.uk/consult/condocs/pmse_funding/howtorespond/form These UHF systems transmit from the mic to a local receiver. If you continue to use channel 69 after broadband takes it over, you will get interference on your signal. If you are using it in a building with thick walls or a lot or metal creating a Farady cage effect you might get away with it, but probably not if BT is blasting away on the frequency. Simon -Original Message- From: colin [mailto:cwh...@santa-fe.freeserve.co.uk] Sent: Wednesday, November 18, 2009 7:29 PM To: NSP group Subject: [NSP] Re: Radio Mics and channel 69 Don't radio mics used in small locations (e.g. church hall etc) just work on a local signal (i.e. mic to amp - like a baby minder thing)? Apart from interference issues, wouldn't they still work like the old local CB radios - my walkie talkies still work even though they are on the obsolete (and probably illegal now) frequency. Are the channel 69 mics transmitted from a central source? As you gather, I'm not that clued up about these things. Colin Hill - Original Message - From: Richard York rich...@lizards.force9.co.uk To: NSP group nsp@cs.dartmouth.edu Sent: Wednesday, November 18, 2009 9:17 PM Subject: [NSP] Radio Mics and channel 69 Not instantly an obvious smallpipes issue, I realise, but enough pipers here are in bands or other organisations using radio mics to make this worth passing on, I hope. Monday's Radio 4 PM programme reported that the Gov't, in their Ofcom hat, are selling off the radio frequencies used in the UK by all radio mics, including loop systems, known as channel 69. They're going to re-assign different frequencies for this use, but existing equipment won't work on them, so will need replacing. To be really helpful they aren't telling which frequencies they'll be making available instead, or when they'll be doing it. They are apparently generously offering to pay for the equipment thus rendered useless, but only the value of the stuff at the time, not its replacement value. .. anyone want to guess the market value of a dead radio mic? I know the mics aren't re-tunable, I don't know about the receivers - we haven't got one yet. There's an article I found earlier today online at [1]web.http://www.guardian.co.uk/media/2009/nov/17/ofcom-channel-69-rad io-frequencies So bands, churches, concert halls, theatres, amateur dramatic groups, schools, and anyone else using this equipment is going to be out of pocket, and inconvenienced too. Please complain! Best wishes, Richard. -- References 1. web.http://www.guardian.co.uk/media/2009/nov/17/ofcom-channel-69-radio-frequ encies To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Copyright issues
I'm not a lawyer, but my work involves intellectual property issues. The law should be clear but in practice it isn't. In the US it as follows: The copyright law of the United States provides for copyright protection in musical works, including any accompanying words, that are fixed in some tangible medium of expression. 17 U.S.C. § 102(a)(2). Musical works include both original compositions and original arrangements or other new versions of earlier compositions to which new copyrightable authorship has been added. The owner of copyright in a work has the exclusive right to make copies, to prepare derivative works, to sell or distribute copies, and to perform the work publicly. Anyone else wishing to use the work in these ways must have the permission of the author or someone who has derived rights through the author. note: Copyright in a musical work includes the right to make and distribute the first sound recording. Although others are permitted to make subsequent sound recordings, they must compensate the copyright owner of the musical work under the compulsory licensing provision of the law. The key issue is that the copyrighted work must be fixed in some medium of expression. You can claim copyright on your arrangement, and if it is sufficiently original (and that's tough to tie down) you'll be able to defend it. You can claim a right to your collection, i.e. the printed work but not the actual tunes, and you have rights to a recorded performance. You may **claim** right to the underlying work, but you don't legally have any and you'll have a tough time defending it. To Barry's point, even a though a claim is questionable, money will often win out in the courts. -Original Message- From: Barry Say [mailto:barr...@nspipes.co.uk] Sent: Friday, January 16, 2009 10:42 AM To: nSP LIST Subject: [NSP] Re: Copyright issues Richard isnt wrong about recording giving copyright, I wasn't sufficiently clear. What I meant was that when, for instance, the Carter Family learned a song from and old-timer and and then performed it in a recording studio for commercial release, they could claim the copyright on the original song. If I may quote from an essay in the 'Old-time String Band Song Book by John Cohen, 1964. (Oak publications USA) - probably infringing copyright as I do so. --- In the past few years, while folk music has become a national fad and an industry, some scholarship has been used and abused for other purposes. Academic folklorists have often found it necessary, or feasible to copyright songs they have collected. Many recent songwriters have rearranged the old songs and carefully researched them to establish them in the public domain. Once they have shown that, they can claim the compositions as there own with little fear of counter-claims. This is the saddest part of the situation: it has reached the point where everyone feels obliged to copyright something before someone else does it, even though though the claim may be questionable in the first place. Fear begets fear money, begets only money and the question of morality is left behind. -- He is the referring mainly to song and the law may have changed since then of course, but I always bear this in mind when discussing copyright. Barry On 16 Jan 2009 at 9:36, Richard York wrote: Hi, Correct me if I'm wrong, but I'm sure simply recording it does confer copyright, or at least has in the past, justly or not. When various people collected folk singers earlier in the C20th, I believe it's still an issue which rankles that by doing so they did exactly that. I was told that there's one huge collection of traditional material which apparently at least recently had exactly this issue, probably still does; sorry, I can't remember for sure which so won't name any. Old ladies gents innocently sang their songs into the nice gentleman's microphone, only to find that he now owned their songs. I think Barry, that it goes on for 75 yrs after the owner's death - certainly does in the case of composers. The EFDSS library would supply more details. Best wishes, Richard. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Copyright issues
The owner of such a copyright would have a tough time making a claim against someone performing or even recording the tune and incorporating a minor tweak to the tune - it would be hard to prove that the variation to the tune didn't already exist in the public domain, especially in a folk genre. The major protection the copyright affords is against someone reprinting that exact typesetting or duplicating the entire or a substantial proportion of the collection because those represent significant works. -Original Message- From: Gibbons, John [mailto:j.gibb...@imperial.ac.uk] Sent: Friday, January 16, 2009 11:08 AM To: NSP group Subject: [NSP] Re: Copyright issues This explains why a lot of tune books in print have slightly tweaked versions of standard tunes - If these are reproduced, which would be unlikely to be accidental or on grounds of taste in many cases, there is then a potential claim for breach of copyright. John -Original Message- From: Simon Knight [mailto:si...@setanta-inc.com] Sent: 16 January 2009 14:30 To: 'NSP group' Subject: [NSP] Re: Copyright issues Publishing or recording a traditional tune or any tune in the public domain does not confer that person with any rights to the original tune itself. They do however have rights to their newly created intellectual property, i.e. the actual musical score or recording. Anyone can continue to perform the original tune, but you could not copy and sell their work. An arrangement of a public domain work can be copyrighted, but here it gets blurry. You would have to prove that there was significant new IP to successfully defend your claim, and you still gain no rights over the original work. -Original Message- From: colin [mailto:cwh...@santa-fe.freeserve.co.uk] Sent: Friday, January 16, 2009 9:12 AM To: NSP group Subject: [NSP] Re: Copyright issues The more I read on this, the more confusing it sounds. It seems more linked to the PRS and stuff. May it be that actually publishing traditional stuff confers a copyright on it? So, a traditional tune collected or published by,say, the EFDSS, then becomes their property? Reading some sites brought up the old argument of the collectors collecting songs from old singers, recording them and thus obtaining the copyright over them and another story of the EFDSS : From http://www.thesession.org/discussions/display/12382/comments The big argument re the EFDSS was that the year that English Country Gardens topped the hit parade ( a morris tune ), they accepted from the PRS a £200 cheque for ALL traditional music paid in Britain that year. There was then a drive ( I don't remember that it was A.L.Lloyd leading this ) to get all the bands musicians and singers to register all their music, even saying it was their arrangement if it was traditional, and by filling in all the PRS returns at every venue the EFDSS would get some more money, and each band and performer would get some too. In 30 years of playing in bands I think I've seen two of these forms. As said, if the composer isn't registered then the money goes to Michael Jackson or Paul McCartney. Must have been nice when the likes of Mr Allen just swapped and played tunes :) Colin Hill - Original Message - From: Richard York rich...@lizards.force9.co.uk To: NSP group nsp@cs.dartmouth.edu Sent: Friday, January 16, 2009 1:23 PM Subject: [NSP] Re: Copyright issues ... and let's not even lift small corner of the lid over the hell which is the Public Entertainment Licence :-( Richard [1]julia@nspipes.co.uk wrote: On 16 Jan 2009, [2]malcra...@aol.com wrote: How does copyright effect performance.? Especaillay if an enterance charge is made, For all performances, paid or otherwise, and this includes sessions in pubs, someone is supposed to sit there writing down everything that is played. This list is then submitted to PRS along with 5% of the takings at a paid event, and the royalties are distributed to any registered copyright holders with the residue going to CC. And a non- paying event gets charged for any copyright tunes. Some folk festivals and sessions have already been clobbered by this. In practice, well. you can imagine the reaction of the average session musician - it doesn't take many fingers! At best, all tunes suddenly become trad. or For example at a funeral? I am uncertain of the position in regards to church and / or private events - which your example could be classified as. I think there may be a dispensation. And then there's when does a private party become a house session, or house concert. Please, just don't go there!! grin Julia To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:julia@nspipes.co.uk 2. mailto:malcra...@aol.com 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: nice set on ebay?
I have one of John's 11 key sets and have been very happy with it. The chanter reed and the drones are stable and the tuning is good. John is also very helpful and I'm sure would support the set really well. Simon -Original Message- From: Adam Westerly [mailto:[EMAIL PROTECTED] Sent: Thursday, November 15, 2007 5:47 AM To: nsp@cs.dartmouth.edu Subject: [NSP] nice set on ebay? I am wanting to upgrade from a set that does not work well. On Ebay there is a set by Liestman at this link: http://cgi.ebay.com/Northumbrian-Smallpipes-NEW-from-maker-Liestman_W0QQitem Z320180810777QQihZ011QQcategoryZ16226QQssPageNameZWDVWQQrdZ1QQcmdZViewItem (I have his book) that is honduras rosewood and has an 11 key chanter. Any thoughts on this set or maker? I have a 7 key currently. Thanks. Adam To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Piping Modernism
My reaction on first hearing was negative. After I recorded the stream, enhanced the sound and played it on a decent hi-fi the pipes were much more audible. They're quiet but well recorded and separated in the mix on the far right. If you listen on headphones or computer speakers they're lost. The same musical doubts remain though - there's little of the Northumbrian tradition and harmonically the piece is foreign to the sound of the pipes. I think Chris hit the right issue - there must be some tuning and harmonics challenges with a just G scale and the other instruments, especially with the 'modern' scales and harmonies. But there are some melodic sections I like and the blend with cor anglais works at times. Instruments out of their métier seldom seem to satisfy ( I play the bassoon and wonder why people try to play jazz on them), but after a few hearings the piece is beginning to grow on me. Simon -Original Message- From: Stephen Douglass [mailto:[EMAIL PROTECTED] Sent: Saturday, October 28, 2006 9:02 AM To: nsp@cs.dartmouth.edu Subject: [NSP] Piping Modernism Maxwell Davies comes from the musical influences of modernism, and pieces like Schoenberg's Pierrot Lunaire.. (some might switch that piece off after 30 seconds) The piping in the composition was unlikely to be expected, resolving or traditionally presented. It still managed to make it to Radio 3 though (and the play again button) . no publicity is bad publicity...eh? Steve Douglass To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
